Paula Bellacera: Calico, 10” x 9” x 6”, 2011, handbuilt, low-fire clay, glaze, underglaze
Paula Bellacera: Chubby BT (Boston Terrier), 11” x 12” x 8”, 2011, handbuilt, low-fire clay, glaze, underglaze
Paula Bellacera: Bee with Purple Head, 4” high, 2011, handbuilt, low-fire clay, glaze, underglaze, paint
Ken Price and Larry Bell / Kayne Griffin Corcoran, Santa Monica, CA, USA
January 20 – March 3, 2012
Kayne Griffin Corcoran is pleased to announce an exhibition of work by Ken Price and Larry Bell. The exhibition explores the divergent paths taken by these two artists who both started their careers in the early 1960s at the influential Ferus Gallery in Los Angeles.
Ken Price’s sculpture has defied convention since the 1960s. The colorful and willfully deviant ceramic sculptures in this exhibition refer to excavated landscapes, ancient architecture, and amoeba-like forms while at the same time remaining defiantly abstract. Price’s intention with these sculptures is to create “an organic fusion of color with surface form.” He applies layer upon layer of paint to the sculpture and then sands the surface to expose the various layers of color beneath. His sculptures from the late 1980s and early 1990s are an exercise in excavation. The organically-shaped sculptures appear to have been sliced open, revealing black polygons on the interior of the sculpture that read as voids. His later works are reminiscent of blobs with mottled surfaces often in a pearlescent finish.
The hard-edged geometry of Larry Bell’s works contrast sharply with Price’s organic forms. Bell’s glass cubes address the dematerialization of the object. Using a dichroic vacuum coating to line the interiors of the glass cubes, Bell creates objects that are at once reflective and seem to disappear. This emphasis on perceptualism aligned Bell with the Light and Space movement in California in the 1970s. This exhibition will include several examples of early Bell cubes as well as a shelf from 1970.
“While growing up near the ocean, I spent many hours peering at tiny creatures and looking for clues to their secret lives. This began a lifelong passion for the the minute details, the battered fragments, and the myriad patterns of organic life. The smallest bits of bone or shell would ignite intense curiosity and imaginative leaps; What was this creature? What did it look like? How did it die? Did it have a family, a home, or friends? Did it feel or think? What would it have thought of me? I create sculptural objects in an empathetic attempt to gain insight into the inner life of creatures and I seek to spark curiosity and imaginative leaps in the viewer.
Clay is critical to exploring these ideas. Touching clay and responding to its organic properties are key aspects of my largely exploratory and intuitive creative process. Risk taking and pushing materials to their limits is also important. I experiment with the forces used to shape clay, glaze, and glass as a process for imagining and exploring the effects of natural forces. I combine clays with glass or other materials to see what they reveal about their individual properties when they are fused together.” Debra Fleury
Debra Fleury: Limpid, 2011. Dark Stoneware, Porcelain and glass. Fired to cone 6 (neutral atmosphere), (wall or surface installation). Dimensions variable, average size per individual piece is approximately 11 cm x 11 cm x 5 cm
Debra Fleury: Barnacle, 2011. Dark Stoneware hollow forms fired to cone 6 (neutral atmosphere), (wall installation). Dimensions variable, average size per individual piece is approximately 12 cm x 11 cm x 8 cm
Debra Fleury: Glider, 2010. Porcelain. Fired to cone 10 (reduction atmosphere). Dimensions 50 cm x 15 cm x 17 cm
Debra Fleury: Bone, 2010. White Stoneware, Dark Stoneware and underglaze. Fired to cone 1 (neutral atmosphere). Dimensions 41 cm x 29 cm x 29 cm
Art should come from the heart of the artist, it should engage the audience, it should connect with the community, it should start a dialog, a debate. It should get people to look at things in a way they have not thought of, or to see what they have looked at but not really seen. Art has to come deeply from the artist, there has to be raw emotion and honesty in the work if it is to connect with people. An Artist paints and sculpts what they know. These are all the reasons I wanted to do a show about Alzheimer’s disease. To start a dialog, to connect, to get people to understand what it is like to have the disease, it is a part of my life, so it is what I know, what I am around. I took those thoughts and feelings and transformed them into visuals to engage my audience.
I speak through paint and clay. Art is a look inside the artist, what I am feeling is transferred into the clay while I am sculpting, Those feelings have to go somewhere. I wanted to tell a story, I wanted you to feel how it is, the frustrations, humor, the compassion and the heartache of having Alzheimer’s disease and for the ones caring for one with this disease.
William Faulkner said it best ~ The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it it moves again since it is life.
Cindy Billingsley: Chamber Nautlius, 2005, 15” x 18” x 9”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax
Cindy Billingsley: Giraffes - Out of the ordinary, 2008, 25” x 28” x 22”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax
Cindy Billingsley: Koala, 2007, 25” x 27”x 15”, raku clay, hand built solid, hollowed for firing, low fired, cold finish acrylic and wax